Mouseover for Online Attention Data Overview Author s Summary In a work that will become indispensable to anyone seriously interested in modern art, Yve-Alain Bois and Rosalind Krauss introduce a new constellation of concepts to our understanding of avant-garde and modernist art practices. Although it has been over sixty years since Georges Bataille undertook his philosophical development of the term informe, only in recent years has the idea of the "formless" been deployed in the theorizing and reconfiguring of the field of twentieth-century art. This is partly because that field has most often been crudely set up as a battle between form and content; "formless" constitutes a third term standing outside that opposition, outside the binary thinking that is itself formal. They chart its persistence within a history of modernism that has always repressed it in the interest of privileging formal mastery, and they assess its destiny within current artistic production. In the domain of practice, they analyze it as an operational tool, the structural cunning of which has repeatedly been suppressed in the service of a thematics of art. Neither theme nor form, formless is, as Bataille himself expressed it, a "job.

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Early life[ edit ] Krauss was born to Matthew M. Epstein and Bertha Luber [2] in Washington D. Krauss wrote her dissertation on the work of David Smith. The dissertation was published as Terminal Iron Works in Her commitment to the emerging minimal art in particular set her apart from Michael Fried , who was oriented toward the continuation of modernist abstraction in Jules Olitski , Kenneth Noland and Anthony Caro.

Founding October[ edit ] Krauss became dissatisfied with Artforum when in its November issue it published a full-page advertisement by featuring the artist Lynda Benglis aggressively posed with a large latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery.

Krauss was appointed as its founding editor. Jeremy Gilbert-Rolfe withdrew after only a few issues, and by the spring of , Douglas Crimp joined the editorial team. Buchloh , Denis Hollier, and John Rajchman. She held the title of Distinguished Professor at Hunter until she left to join the Columbia University faculty in She recently received an honorary doctorate from the University of London.

She has, for example, been interested in the development of photography, whose history — running parallel to that of modernist painting and sculpture — makes visible certain previously overlooked phenomena in the "high arts", such as the role of the indexical mark, or the function of the archive.

She has also investigated certain concepts, such as "formlessness", "the optical unconscious", or "pastiche", which organize modernist practice in relation to different explanatory grids from those of progressive modernism, or the avant-garde.

Like many, Krauss had been drawn to the criticism of Clement Greenberg , as a counterweight to the highly subjective, poetic approach of Harold Rosenberg. She is currently preparing a second volume of collected essays as a sequel to The Originality of the Avant Garde and Other Modernist Myths In many cases, Krauss is credited as a leader in bringing these concepts to bear on the study of modern art.

In addition to writing focused studies about individual artists, Krauss also produced broader, synthetic studies that helped gather together and define the limits of particular fields of practice.

Garland Reference Library of the Humanities, New York: Garland, Passages in Modern Sculpture. London: Arts Council, Translated by Marc Bloch and Jean Kempf. Paris: Macula, Critical Perspectives in American Art, pp. Introduction by Hugh M. New York: Oxford University Press, Book reviews by Krauss[ edit ] "Man in a Mold. In The New Republic, Dec. In The New Republic, May 25, , pp.


Rosalind E. Krauss

Julabar Few have investigated so diligently the workings of the strange anti-logic which links the ktauss to the laws of heterology, scatology, expenditure without reserve and general economics. The informe is the unassimilable waste that Bataille would shortly designate as the very object of heterology. Irauss 28, RJ rated it it was amazing. Personally I do not regret that I bought it, but I can imagine people who would be disappointed. Follow the Authors Marc rated it really liked it Jul 31, Krauss and Bois seem at times to understand this, but never really come to grips with it. Georges Bataille was a provocative thinker.







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